VNION ACADEMIQVE INTERNATIONALE
CORPVSVASOKVM ANTIQVORVM
RUSSIA POCC145I
THE STATE HERMITAGE MUSEUM FOCYLAPCTBEHHLII 3PMHTA)K
ST. PETERSBURG CAHKT-HETEPBYPF
ATTIC RED-FIGURE DRINKING CUPS
by ANNA PETRAKOVA
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RUSSIA - FASCICULE xii THE STATE HERMITAGE MUSEUM - FASCICULE V National Committee Corpus Vasorum Antiquorum Russia
Chairpersons Professor MIKHAIL PIOTROVSKY, Director of The State Hermitage Museum, St. Petersburg Member of the Russian Academy of Sciences and the Russian Academy of Arts Dr. IRINA DANILOVA, Pushkin State Museum of Fine Arts, Moscow
Committee Members Professor GEORGY VILINBAKHOV, Deputy Director of The State Hermitage Museum, St. Petersburg ANNA TROFIMOVA, Head of the Department of Greek and Roman Antiquities, The State Hermitage Museum, St. Petersburg Professor EDuARD FROL0v, Head of the Department of Ancient Greece and Rome, St. Petersburg State University IRINA ANTONOVA, Director of Pushkin State Museum of Fine Arts, Moscow Member of the Russian Academy of Education Professor GEORGY KNABE, Institute of the Humanities, State Humane University of Russia, Moscow Dr. OLGA TUGUSHEVA, Department of the Art and Archaeology of the Ancient World, Pushkin State Museum of Fine Arts, Moscow
Corpus Vasorum Antiquorum. Russia. - Roma: <
12: The State Hermitage Museum, St. Peterbsurg. 5. Attic Red-Figure Drinking Cups / by Anna Petrakova. - Roma: <
CDD 21. 738.3820938
1. San Pietroburgo - Museo dell'Ermitage - Cataloghi 2. Vasi antichi - Russia I. Petrakova, Anna II. Union Academique Internationale III. Gosudarstvennyj Ermitaz
Translated from Russian by Catherine Phillips Edited by Elisabetta Mangani Photographs by Natalia Antonova
© THE STATE HERMITAGE MUSEUM © COPYRIGHT 2007 <
7 Preface 9-10 Abbreviations
RED FIGURED CUPS
11-12 Psiax 12-13 Close to the Euergides Painter 13-15 Hermaios Painter 15-26 Nikosthenes Painter 26 Painter of the Agora Chairias cups 27 Chelis group 27-29 Epidromos Painter Apollodoros, early 29 Manner of Euphronios 29-30 Triptolemos Painter 30-3 1 Douris 3 1-35 Onesimos (previously - Panaitios Painter) 35-3 8 Manner of Onesimos 38-40 Antiphon Painter 41 Brygos Painter 4 1-43 Foundry Painter 44-49 Dokimasia Painter 49-5 1 Painter of the Paris Gigantomachy 52-62 Makron 62-64 Clinic Painter 64-68 Telephos Painter 68-71 Stieglitz Painter 71 Pan Painter 72-73 Painter of the Yale cup 73-74 Manner of Sotades Painter 75 Dish Painter 76 Painter of Bologna 417 77-78 Splanchnopt Painter 78-79 Karlsruhe Painter 79-81 Near to the Karlsruhe Painter 81-83 Villa Giulia Painter 84-85 Near the Lid Painter, Painter of Hermitage komos 85-86 Close to Marlay Painter 86-87 Painter of London E 106
CONTENTS
Indexes
89 Index of plates 90 Index of painters' groups and classes 91 Index of subjects 92 Index of proveniences 93 Index of former owners 94 Concordance of museum inventory numbers with Peredolskaya's, Stephani's and Waldhauer's numbers
Plates
1-83 Plates signed RUSSIA from 540 to 622 PREFACE
This fascicule comprises some of the Attic red-figure drinking-cups and fragments in the State Hermitage Museum in St Petersburg. The cups are arranged in chronological order. They include whole cups and fragments from the main collection acquired in the 19th century from the Pizzati (1834) and Campana (1862) collections as well as vases that arrived in the Museum from various collections in the late 19" and first half of the 20th century. Those Attic red-figure cups from these collections and others now in the State Hermitage Museum that are not included in this fascicule for various reasons will be published in succeeding CVA Hermitage volumes. The 42 items - cups, fragments and one stemmed dish - in this volume were previously published by A.A. Peredolskaya (Krasnofigurnye atticheskie vazy v Ermitazhe [Red-figure Attic Vases in the Hermitage], Leningrad, 1967; various articles in SGE) but the reproductions in her publications were small and did not always show the object from all sides. Moreover, since then some vases have been restored, altering their current state and changing our perceptions about the original drawing and later additions. In a number of instances recent study has allowed us to clarify dating, to identify new groups and masters and thus change the attribution. Where dates and attributions have changed the date and artist's name are given in parentheses, with earlier opinions described in the commentary, including references to the relevant publications and an explanation of the reason behind the new dating and / or attribution. I must express my gratitude to Anna Trofimova, Head of the Department of Classical Antiquities at the State Hermitage Museum, who has done everything in her power to facilitate work on and publication of the relevant fascicules of the Corpus Vasorum Antiquorum. I am grateful to the Keeper of the collection of Attic vases, Lubov Utkina, for making the objects available for study. I would like to thank a number of colleagues for their professional support: Ludmila Shadricheva of the Hermitage Library, Evgenia Cherepanova of the Hermitage Conservation Department, Natalia Antonova of the Hermitage Photo Studio and Catherine Phillips, who translated the text into English. Thanks are due to my colleagues in the Department of Classical Antiquities, Elena Ananich, Elena Arsenteva and Dr Anastasia Bukina, who gave me valuable advice after reading the first draft of the manuscript, and to Ludmila Nekrasova for her assistance in resolving important administrative matters. Thank you also to the Beazley Archive in Oxford and particularly to Professor D. Kurtz for making available the archive and the electronic data bases. Without the support of my parents in this, as in all my undertakings, this volume would not have been possible.
ANNA PETRAKOVA St. Petersburg, 2006 ABBREVIATIONS
AA Archciologischer Anzeiger. AR112 J.D. BEAZLEY, Attic Reel-Figure Vase- AJA American Journal of Archaeology. Painters, ed., 3 vols., Oxford, 1963. AM Mitteilungen des deutschen Archdologischen BEAZLEY 1918 J.D. BEAZLEY, Attic Red-Figured Vases in instituts. American Museums, Cambridge (MA), 1918. BSA The Annual of the British School at Athens. BEAZLEY 1925 J.D. BEAZLEY, Attische Vasenmaler des rot- CIG Corpus Inscritionum Graecorum. figurigen Stils, Tiibingen, 1925. HASB Hefte des Archáologischen Seminars der Uni- BEAZLEY 1929 J.D. BEAZLEY, Notes on Vases in the Castle- versitàt Bern. Ashby, in BSR XI, 1929. IAK Imperial Archaeological Commission. BEAZLEY 1931 J.D. BEAzLEY, Der Pan-Ma/er (B/Ic/er IRAIMK Izvestiya rossiyskoy akademii istoriz' material- griechischer Vasen herausgegeben von J.D. noy kultury [News of the Russian Academy of Beazley und P. Jacobstahl), Berlin, 1931. the History of Material Culture], Petrograd. BEAZLEY 1946 J.D. BEAZLEY, Hoplitodromos cup, in BSA JHS Journal of Hellinic Studies. 46, 1946. LIMC Lexicon Iconographicum Mythologiae Classi- BLOESCH H. BLOEScI-I, Formen attèccher Schalen von cae, Zurich and Mflnchen. Exekias his zum Ende c/cs strengen Stils, Bern, 1940. OAK Otchet Imperatorskoy Arkheologicheskoy BRUNN Komissii [Report of the Imperial Archaeo- H. BRUNN, Geschichter der griechischen Kiinstler, vol. II, Stuttgart, logical Commission], St. Petersburg, 1859. CASKEY, BEAZLEY L. CASKEY, J BEAZLEY, Attic Vase-Paint- RA Revue Archeologique. . ings in the Museum of Fine Arts. Boston, SGE Soobshcheniya Gosudarstvennogo Ermitazha Part I, 1931; Part II, 1954; Part III, 1963. [Reports of the State Hermitage Museum], COHEN B. COHEN, Attic Bilingual Vases and Their Leningrad-St. Petersburg. Painters, New York-London, 1978. St. L. STEPHANI, Die Vasensammlung der Die griechische Klassik Die griechische Klassik. Ic/ce oder Wirk- Kaiserlichen Ermitage, St. Petersburg, 1869. lichkeit, Mainz am Rh., 2002. W. WALDHAUER 1914. El deporte El deporte en la Grecia antigua, la genesis del ZRAO Zapiski Rossiyskogo Arkheologicheskogo en la Grecia antigua olimpismo, May 10-August 9, 1992, D. Van- Obshchestva [Notes of the Russian Archaeo- hove, ed., Barcelona, 1992. logical Society]. Euphro/2ios 1990 Euphronios peintre ci Athènes an We siècle Add L. BuRN, R. GLYNN, Beazley Addenda, Ad- avantJ.-C., Paris, 1990. ditional References to ABV ARV' and Par- FR A. FURTWANGLER, K. REICHOLD, Griechici- alipomena, Oxford, 1982. che Vasenmalerei, Mflnchen, 1904-1932. Add2 T.H. CARPENTER, Beazley Addenda, Ac/di- GERHARD E. GERHARD, Auserlesene Vasenbilder, I-IV, tional References to AB7] ARV. and Par- Berlin, 1840-1858. alipomena, Oxford, 1989. GORBUNOVA, K. S. GORBUNOVA, A.A. PEREDOLSKAYA, Agora XXX The Athenian Agora, vol. XXX, Attic Red- PEREDOLSKAYA Mastera grecheskikh rasp isn1'kh vaz [Masters Figured and White-Ground Pottery, by M. of Greek Painted Vases], Leningrad, 1961. Moore, New Jersey, 1997. GREEF, LANGLOTZ B. GREEF, E. LANGLOTZ, Die ant/ken ALFIERI 1979 N. ALFIERI, Spina. Museo Archeologico Vasen von der Acropolis zu Athen, Berlin, Nazionale di Ferraro 1, Bologna, 1979. 1925-1933. ALEXANDER ALEXANDR VELICTY: put' na Vostok. HARTWIG P. HARTWIG, Die griechischen Meister- THE GREAT [ALEXANDER THE GREAT: The road to the schalen der Bliitezeit des strengen rotfiguri- East]. Cat. exhil. S. Petersburg, 2007. gen Stiles, Stuttgart, 1893. ARF3'[ Archaic J. BOARDMAN, Athenian Red Figure Vases. HOPPIN J. HOPPIN, A Handbook of Attic Red-Fig- The Archaic Period, London, 1975. ured Vases signed by or attributed to the van- ARIAS, HIRJMER P. ARIAS, E. HIRMER, A History of Greek ous Masters of the sixth and fifth centuries Vase Painting, London, 1962. BC, Cambridge (MA), 1919. Art Antique Art Antique. Collections privies c/c la Suisse Horse 2006 "Poltsartstva za konja...... Loshad v mirovoj Romande, Geneva, 1975. kulture ["Half kingdom for the horse...". ARV J.D. BEAZLEY, Attic Red-Figure Vase- The horse in world culture]. exh. cat., Her- Painters, Oxford, 1942. mitage Museum, St. Petersburg, 2006. 10 ABBREVIATIONS
KLEIN 1886 W. KLEIN, Euphronios, Wien, 1886. POTTIER E. POTTIER, Vases antiques du Louvre, KLEIN 1887 W. KLEIN, Die griechischen Vasen mit Me/c- Paris, 1897-1922. tersignaturen, Wien, 1887. REINACH S. REINACH, Repertoire des vases peints KLEIN 1898 W. KLEIN, Die grichischen Vasen mit grecs et e'trusques, I-IT, Paris, 1899-1900. Lieblingsinschriften 2 , Leipzig, 1898. RICHTER, HALL G. RICHTER, L. HALL, Red-figured Athe- KRAIKER W. KRAIKER, Die rotfigurigen attischen nian Vases in the Metropolitan Museum of Vasen des ArchcIologischen Inst/cuts der Gui- Art, New Haven, 1936. versittIt Heidelberg, Berlin, 1931. SCHEFOLD, JUNG K. SCHEFOLD, F. JUNG, Die Sagen von den KRAIKER 1923 W. KRAIKER, Fragment des Hermaios in Argonauten, von Theben und Troia in der Heidelberg in AA 38/39, 1923/1924. klassLcchen and hellenistischen Kunst, KUNISCH N. KUNISCH, Makron, Mainz am Rh., 1997. München, 1989. Kunst der Schale Kunst der Schale. Kultur des Trinkens, K. Schliemann- Shliman-Peterburg-Troya [Schliemann-Pe- Vierneisel and B. Kaeser, eds., München, Petersburg-Troy tersburg-Troy], exh. cat., Hermitage Muse- 1990. um, St. Petersburg, 1998. LANGLOTZ E. LANGLOTZ, Griechische Vasen in SCHRODER B. SCHRODER, Der Sport im Altertum, Wiirzburg, MOnchen, 1932. Berlin, 1927. Le Sport dons Le Sport dens la Grèce Antique, Du Jeu C la SCHWEEN H. SCHWEEN, Die Epistaten des Agons und la Grece Antique Competition, 23 Janvier-19 Avril 1992, D. der PalSstra in Literatur und Kunst, Kiel, Vanhove, ed., Ghent, 1992. 1911 Muses and Masks Mazy i maski [Muses and Masks], exh. cat., SLONIMSKAYA Yu. SLONIMSKAYA, Zarozhdenie antich- Hermitage Museum, St. Petersburg, 2005. noy pantomimy [The Birth of Antique NICOLE G. NICOLE, Corpus des ceramists grecs, vol. Pantomime], in Apollon [Apollo], 1914, II in RA 1916, pp. 373-412, 110. 9. Pandora Pandora. Frauen im klassischen Griechen- TALCOTT L. TALCOTT, Some Hairias Cups in the land, Baltimore, 1996. Athenian Agora, in Hesperia 24, 1955. PANOFKA 1850 TH. PANOFKA, Die griechischen Eigenna- The Eye of Greece The Eye of Greece. Studies in the Art of men mit Kalos im Zusammenhang mit dem Athens, D. Kurtz, B. Sparkes, eds., Cam- Bilderschmuck auf bemalten Vasen, Berlin, bridge, 1982. 1850. TRENDALL 1958 A.D. TRENDALL, The Felton Creek Vases in Para J.D. BEAZLEY, Paralipomena. Additions to the National Gallery of Victoria, Canberra, Attic Black-figure Vase-painters and Attic 1958. Red-figure Vase-painters, Oxford, 1971. URE 1936 A.D. URE, Red-figure Cups with Incised and PEREDOLSKAYA, A. PEREDOLSKAYA, Krasnofigurnye attich- Stamped Decoration, in JHS 56, 1936. Catalogue eskie vazy v Ermitazhe [Red-figure Attic WALDHAUER 1914 O.F. WALDI-IAUER, Imperatorskzl' E;-mi- Vases in the Hermitage], Leningrad, 1967. tazh. Kratkoe opisanie sobraniya antich- PEREDOLSKAYA 1936 A. PEREDOLSKAYA, K probleme realizma v nykh raspisnykh vas [The Imperial Her- grecheskom iskusstve V v. do n.e. [On the mitage. Brief Description of the Collection Question of Realism in Greek Art of the 5" of Antique Painted Vases], St. Petersburg, Century BC], in Iskusstvo [Art] 1, 1936. 1914. PEREDOLSKAYA 1963 A. PEREDOLSKAYA, Pozdnekrasnofigurnyy World of Heroes Mir geroev. Mif i realnost. Proizvedeni ya an- kilik iz sobraniya M.P Botkina [A Late Red- tichnogo i zapadnoevropeyskogo iskusstva iz so- figure Kylix from the Collection of M.P. braniya Gosudarstvennogo Ermitazha [The Botkin], in SGE XXIV, 1963. World of Heroes. Myth and Reality. Works of PEREDOLSKI 1928 A. PEREDOLSKI, Sotades, in ANT 53, 1928. Antique and Western European Art from the PESCHEL I. PESCI-IEL, Die Hetare bei Symposium und Collection of the State Hermitage Museum], Koinos 112 der attischen rotfigurigen Malerei exh. cat., Hermitage Museum, St. Petersburg, des 6-4. Jhs. v.Chr., Frankfurt, 1987. 2005. PFUHL E. PFUHL, Malerei und Zeichnung der TIBERIOx 1996 M. TIBE1UOx, EAAHNIKH TEXNH APXAIA Griechen, I-Ill, MOnchen, 1923. AT'T'EIA, Athinai, 1996. RED-FIGURE CUPS
The following standard features are not mentioned in on the second with ornament composed of two rows descriptions unless otherwise noted: all the cups are of of dots. Eyes of both warriors drawn frontally al- orange Attic clay and with lustrous-black glaze for though head in profile; pupil of first warrior shown as painting; the interior is solid black, apart from the a circle painted in dilute glaze with a black dot in the medallion; the top of the rim is black; the exterior of centre, that of second warrior solid black with an ex- the foot is solid black, except along the edge; the un- tra line running around eye to mark opening in hel- derside of the foot (standing surface) and the interior met. To left below cloak of first warrior is a sword of the stem are reserved; the exteriors of the handles pointing upwards, in lower right corner of fragment is are black. Side A is the side turned towards the observ- part of an arm around the elbow (covering right leg of er when the figures of the medallion are seen upright. first warrior). All drawn with a fine relief line. Visible Handle A/B is the right handle, as seen from side A; traces of preliminary drawing which does not accord handle B/A is the right handle, as seen from side B. with final contour of figure (thighs, back, right hand, The painted figures are numbered from left to right sword). with numbers in brackets. For cup characteristics see Outside: base-rays outlined with a fine relief line; alter- BLOESCH 1940. nating black and reserved rays; at the tips of the rays and around their bases a fine relief line in black glaze. Added red: spear. Added white: sword hilt. PLATE 1 Incisions: contours of the sword and a long line along the blade. 1-2; FRAGMENT OF A CUP. Inv. B.7864. Acquired in Kerch, 1866. Max. dims. 5.5 >< 4.5 cm; th. 0.5-0.7 cm. Psiax (A. Peredolskaya). Fragment of the lowest part of body with the area c. 520 BC. where the stand was attached. Broken edges of frag- ment even; painting on the inside where the stand was G.M.A. Richter compared the Hermitage fragment attached has small chips in the paint layer. Lustrous- with cups in New York 14146.1 (RICHTER, HALL, black glaze and added colours well preserved. tab. 1; 2.1) and München 2587 (H.R.W. SMITH, New Inside: fragment of tondo. Border: reserved line. Aspects of the Menon Painter, Berkeley, 1929, tab. 1). Medallion: fragment of a battle. Warrior facing right, There is a warrior (4) on side A of New York 14146.1 head in profile, chest frontal, right hand bent and that is close to the Hermitage warriors (the same head backwards, fist at thigh level, a spear in his hand. in a helmet with a similar eye). In the painting of Warrior wears a helmet (lower part and fragment of München 2587 only the treatment of the armour of war- crest survive), a short smooth chiton with a belt (belt rior (1) on side B is similar. Close to the heads of war- has a pattern of stepped zigzags running right), a riors on the Hermitage fragment is the head of the war- cloak (covering shoulders down to elbows and contin- rior (1) on side A of Cleveland 1976.89 (CVA Cleveland, uing behind the back) adorned with a line along the Museum ofArt2, pl. 76. 1), Psiax - the helmet and treat- edge and over the whole surface an ornament consist- ment of the eye, the drawing of the hair on the neck and ing of three dots (dot rosettes); cloak tied at neck that of the cloak (with ornament in the form of groups (part of knot visible). Warrior's chest partially hidden of three dots) are analogous to those of the left warrior by head of a second warrior in a helmet to left (crest on the Hermitage fragment. The large eye with its iris and front of helmet and eye visible). Both helmets and pupil picked out and the pattern on the fabric in have a band running along lower part of crest, band the form of groups of three dots, like those on the Her- on first helmet decorated with stepped zigzags, that mitage fragment, are like those on the figure in the ton-
12 RED-FIGURE CUPS do and the figure (2) on side A of Malibu 86.AE.278 Hermitage fragment among the painter's works (ARV, 64 (CVA The J. Paul Getty Museum, Malibu 8, pls. 394.13-6, no. 88; ARV, 94 no. 96) but later rejected his own attri- 395), 520 BC, Psiax. bution (Para, 509 no. 4). A comparision of the Hermitage fragment with works by the Euergides Painter reveal simi- G. RJCHTER, The Menon Painter - Psiax, in AJA 38, 1934, 553, pl. 9; RJCJ-ITER, HALL, 15 note 6; ARV, 8 no. 7; ARV, 8 no. 10; PEREDOLSKAYA, larities in the proportions, facial types and poses and treat- Catalogue, 11, cat. 1, pl. CLVIII,1; Cot-LEN, pl. XXXVIII,3; ACId, 72; Add', 151. ment of details. The treatment of the face, arms, legs, muscles, hair and wreath on the youth's head in the Her- mitage fragment are like those on the youth in the tondo PLATE 2 of Laon 371060 (CVA Laon 1, pl. 47.4), 510-500 BC, Eu- 1-3; P1. Al. FRAGMENT OF THE BOTTOM OF A RED- ergides Painter. In proportion and drawing the legs of the FIGURE Gui° SET INTO A HELLENISTIC BLACK-GLAZED figure are close to those of the figure on Amsterdam 2232 DISH. Inv. B.1528 (St. 795, W. 648). From the Campana (CVA Amsterdam, Allard Pierson Museum 1, p1. 6.1), collection, 1862. H. 33 cm; d. 25.2 cm; d. of base 8.7 cm. c. 520 BC, Euergides Painter. Type of face and hairstyle Medallion: d. 8.9 cm; tondo: d. 8.5 cm; border: w. 0.2 cm. close to those on a youth with a wineskin in his hand Fragment of the floor of a red-figure cup assembled painted on Berlin, Antiquarium F 2265 (CVA Berlin, Anti- from several pieces and set into a Hellenistic black- quarium 2, pl. 56.1), c. 510 BC, Euergides Painter. Draw- glazed dish. The joins plastered and tinted to match the ing of body, face and hairstyle close to that seen on the glaze and clay; along the join passing through the body youth on 863.2.67 (CVA Bourges et Tours, pl. 10), c. 510 of the youth, the drapery and the wineskin the lost draw- BC, Euergides Painter. Pose, treatment of hands and feet, ing has been renewed, the outer half of the wineskin face and hairstyle close to a youth (1) on side A of a cup in drawn anew. The surface of the cup worn inside and Cambridge (CVA Cambridge, Fitzwilliam Museum 2, pl. outside, covered with small dents, chips and scratches. 5.2a-b), c. 510 BC, Euergides Painter. Body, face, treat- Medallion: naked youth running to left in profile in a ment of folds, hairstyle and wreath of the youth are similar pose close to the kneeling run, torso in three-quarter view. to analogous features in the painting of Munich 2607 Legs bent, right leg in front, knee at thigh level; left leg (Kunst der Shale, pl. 49.2a-b), 510-500 BC, Euergides back, knee down; both feet have toes resting on image Painter. The body of the youth and drawing of the folds frame. Arms bent, right arm forward, elbow at waist level, may be compared with the image in a tondo on Mflnchen wrist at head level, the palm open away from body, fingers 2597 (Kunst der Schale, pl. 48.14), 5 10-500 BC, Euergides up; elbow of left arm pushed back, wrist at chest level, Painter. There is also, however, a similar head on fragment hand holding end of a wineskin; right arm considerably P 1264 (Agora XXX, pl. 144 no. 1521), c 500 BC, 'com- longer than the left. Head slightly tilted, chin touching pare the Group of Acropolis 96'. right shoulder. Behind the youth's back is a cloak, its ends ARV, 64 no. 88 (Euergides Painter); ARV, 94 no. 96 (88) (Euergides hanging in front from shoulder to knee, partially hiding his Painter); PEREDOLSKAYA, catalogue, 13, Cat. 4, pls. CLVIII,3, CLXIII,3 arms and sides. Over the left shoulder a wineskin hanging (Euergides Painter); Para, 509 no. 4 (under the title Epiktetos' with words: behind youths back. Fine black relief line around con- 'not by the Euergides Painter'). tours of body, drapery, wineskin, folds of cloak, inner con- tours of hairstyle, facial features, fingers on both hands, PLATE 3 two curved lines on right palm. Hair black, separated from ground by a depressed reserved band; locks along inner 1; Fig. 1; P1. A.2. FRAGMENT OF A CUP (TYPE B?). contour drawn in weakly diluted glaze. Youth wears a Inv. B.6785. From the Academy of the History of Mate- wreath on his head. Around the figure are letters: rial Culture, 1931. Acquired in Sebastopol, 1866. Ac- cording to the seller it was found in Evpatoria. Max. dims. 8.5 x 7 cm; th. 0.5-0.7 cm. Added red: wreath in the form of a band with dots along the sides; letters against the background around the figure.
Close to the Euergides Painter. 510-500 BC. Peredolskaya dated the fragment c. 520 BC and includ- ed it among the works of the Euergides Painter without any reference to analogies. Beazley initially included the Fig. 1 - B.6785 (sc. 1:2).
PLATES 1,2,3,4 13
Fragment of the lowest part of body with the upper by Peredolskaya, the rounded back, arms, legs and draw- part of stem. Broken edges even, straight, where the ing of the musculature and genitals are close in the tondo foot once was they are worn smooth. Small chips in the of cup Laon 371060 (CVA Laon 1, pl. 47.4), 5 10-500 BC, clay and paint layer along the edges. Lustrous-black Euergides Painter. A very similar pose with rounded back glaze well preserved except for tiny chips over the outer and legs appear on the fragment Fogg Museum 2388 surface of the fragment. (CVA Fogg Museum and Gallatin Collections, pl. 17.2), Added red almost faded. c. 500 BC, circle of the Euergides Painter. A similar treat- Inside: fragment of tondo. Border: reserved line. Medal- ment of face and muscles is seen in the drawing of a bent lion (est. d. 5.6 cm): fragment of a male figure. Naked youth on the fragment Braunschweig 500 (CVA Braun- youth bent over hard to left; head, torso and legs in profile. schweig, Herzog Anton Ulrich Museum, pl. 15.1), c. 510 In his hands a large round object (a boulder?), left arm BC, Euergides Painter. A character with rounded back and stretched forward and down, palm upwards supporting close body type (youth lifting a krater) appears on cup boulder; right arm bent, palm vertical pressing into side of Berlin, Antiquarium F 2265 (CVA Berlin, Antiquarium 2, boulder, thumb to one side; legs bent (legs survive to mid- pl. 56.1), c. 510 BC, Euergides Painter. Two figures with a calf), right leg forward and up, knee supporting boulder similar type of body and rounded back, but with different from below. Contours of body, musculature, facial features drawing of the face, appear on side B of a cup in Cam- and outline of boulder drawn with a thick black relief line. bridge (CVA Cambridge, Fitzwilliam Museum 2, pl. 5.2a- Youth has short hair painted with solid black glaze; locks b), C. 510 BC, Euergides Painter. Also close is the head of a running around edge of hair at temple and neck marked youth on the fragment P 287 (Agora XXX, pl. 144 no. with several short lines of black glaze. Hair separated from 1528), c. 510 BC, Euergides Painter (Beazley), but this is black glaze ground of medallion by a reserved line. Head described as by 'not the Euergides Painter', because of the of youth in profile but eye shown frontally, pupil centrally drawing of the opened mouth and hair (P. ROUILLARD, in placed. On youth's head a wreath of ivy leaves (four leaves, RA 1975, 31-60). Also close is the youth on the fragment two above and two below a fine line encircling head), ap- P 1274 (Agora XXX, pl. 148 no. 1572), c. 510 BC, 'manner parently once all painted in red but this has worn away. of the Euergides Painter: the Painter of Agora P 1275' Above the youth's head are two red letters: (ARV, 67 no. 4), the Group of Acropolis 96 (ARV, 105 -/0 no. 4). A similar profile with half-opened mouth is on the fragment Oxford 1927.4075a-e (CVA Oxford 2, pl. 57.22), Close to the Euergides Painter. c. 510 BC, Euergides Painter. 510-500 BC. OAK 1913-1915, 71, pl. 103; PEREDOLSKAYA, Catalogue, 1314, cat. 5, pis. CLVIII,6, CLXIII,5; Para, 509 no. 4 ('under the title 'Epiktetos' with Fragment dated c. 520 BC and attributed by A. comment: 'not by the Euergides Painter'). Peredolskaya on the basis of closeness in style of the drawing to that of figures on cups from the workshop of the Euergides Painter (PEREDOLSKAYA, Catalogue, 14) PLATE 4 with a reference to Beazley (ARV, 59 and ff). Peredol- skaya noted that the motif of the bending figure with 1-4; Fig. 2; P1. A.3. CUP, TYPE C. Inv. B.2021 (B 647). almost rounded back, characteristic of the Euergides Acquired in 1892. Purchased in Paris at the auction of Painter, is found on his cups Oxford 1929.465 (CVA, the van Branteghem collection. Found in Arsinoa (Man- Oxford 2, pl. 51.3), Cambridge 37.15 (CVA, Cambridge 2, pls. 8.4, 5.2), Castle Ashby (BSR XI, pl. 4.3), Louvre G 15 (POTTIER, pls. 89, 90), New York 09.22147 (RICHTER, HALL, pl. 3), the closest analogy for the Her- mitage fragment being the drawing inside Louvre G 96 (POTTIER, pl. 99), where just such a naked youth is lift- ing a boulder. Peredolskaya compared the profile on the Hermitage fragment with those on fragments found on the Acropolis in Athens (GRAEL LANGLOTZ, Bd. II, 1, tab. 6, 163; tab. 7, 165, 159, 144) but saw the closest as the profile on the cup fragment Heidelberg 28 (KRAIKER, tab. 4, 28). In addition to the analogies cited Fig. 2 - B.2021 (sc. 1:3).
14 RED-FIGURE CUPS ona), on Cyprus, 1886, H. 7.8 cm; d. 19.4 cm; w. with Added red: heart-shaped leaves along the sides of the handles 26.3 cm. Foot: h. 2.8 cm; d. of base 8.1 cm; h. of ivy stems in the figure's hand; wreath on the figure's fillet 0.5 cm; h. of edge 1.1 cm. Handles: d. 1.1 cm; pro- head (band with heart-shaped leaves to the sides); jection 3.4 cm. Medallion: d. 10.4 cm; border: w. 0.2 cm. letters in the medallion. Small deep cup, the body moving smoothly into a Exterior: black. Foot black outside except for edge; short stem separated from the base by a fillet. The base inside black except for a narrow standing surface and thick and heavy. Outside around the upper half of the the surface where attached to body, which are left cup the glaze has brown and greenish stains. Cup assem- reserved. In the centre of the round surface where bled from several pieces, the joins and small chips care- attached to the body is a black dot around which are fully filled and tinted black. Small chips in the surface of thin and thick (w. 0.15 cm) black rings. the medallion have been restored, tinted, the drawing re- newed (part of the face and fringe of the figure, part of Potter Herrnaios. the drapery along the left side). Inside the cup the lus- Hermaios Painter U. Beazley). trous-black glaze well preserved, on the outside the glaze c. 520 BC. worn in places and with no sheen. Handles worn. Interior: medallion turned 25 0 to left. In the medallion The cup was found in a burial along with two others, Dionysos moving right, head facing left, body slightly to a cup with a hetaira, British Museum E 34, also with right of centre of field, legs in profile, upper part of body the signature of the potter Hermaios (HOPPIN, vol. II, and shoulders shown frontally. Legs bent, set wide apart, 16), and Boston 95.33 with a maenad, from the work- left leg forward, both legs have almost whole foot resting shop of the potter Kachrylion (CASKEY, BEAZLEY, vol. on frame. Arms bent, left arm forward holding a drink- I, pl. 3.11; H0PPIN, vol. I, 150). Beazley attributed all ing horn; right arm back, hand at waist level holding three cups to the Hermaios Painter. As Peredolskaya stem of an ivy branch from which two long stems hang noted, in its heavy proportions, large head, kneeling down his back (lower stem divides nearer the end), while run scheme, the treatment of the chiton, particularly one short stem rises up above his head. Figure wears a lower edge of the hem, the drawing of the ear and legs, long chiton with a cloak over it; robes hide body so that the Hermitage figure of iDionysos is closest to the fig- legs visible only from mid-calf, left arm only below ure of a maenad on Boston 95.33. She also noted that elbow, right arm below upper arm. Figure has long hair the Hermitage cup belongs to an earlier period than falling in a solid mass down the back and a long beard; the cups by the Hermaios Painter of 515-510 BC that he wears a wreath on his head. Inscription inside field to also bear the surviving signatures of the potter Her- either side of figure: maios as owner of the workshop - British Museum 96.10-22-1 (H0PPIN, vol. II, 17; KEAIKER, 1923, 171) and Boston 03.844 (CAsKEY, BEAZLEY, vol. I, pl. 3.10; HEPtvfA1Q EfEfN H0PPIN, vol. II, 15). We can add to the analogies cited by Peredolskaya. Close treatment of the face, drawing of the eye, ear, hair and beard on a figure in a medal- Fine black relief line around contours of body and lion on Berlin F 2274 (CVA Berlin 1, p1. 5.2), 515-500 drapery (apart from lower edge of chiton), folds of BC, Hermaios Painter (?). Close treatment of hair, drapery, figure's face, contours of horn and stems. Hair beard, moustache, arms and fingers on the satyr on and beard are black, separated from ground by a re- Berlin F 2267 (CVA Berlin 1, pl. 6.1-3), 510-500 BC, served band; along contour of hairstyle and upper con- Hermaios Painter. Close treatment of hair with long tour of beard are black relief dots marking locks; along locks, ear, feet, border of chiton on the warrior in a lower contour of beard a row of fine black relief dots tondo on Bucharest 18811 (CVA Bucarest 2, pl. 24), marking locks; two thick wavy lines used to draw two Hermaios Painter. Almost identical treatment of the locks of hair hanging from ear to chest; thick black line arms and folds of cloak hanging down the sides of the marking moustache; contour of lower edge of chiton body, close drawing of the body and treatment of the edged with a black wavy line. Clearly visible traces of edges of the hair on a tondo on fragment Oxford preliminary drawing, mostly according with final image. 1919.26 (CVA Oxford, Ashmolean Museum 1, pl. 1.4), Fringe, eyebrows, eyes (except inner corner), edge of 520-510 BC, Hermaios Painter. Image of Dionysos drapery along left side and part of ground in the same almost identical in composition, but differing in the place have been redrawn over tinted plaster. drawing and the content of the inscription, adorns the
PLATES 4, 5 15 medallion of a cup (type B), Amsterdam 8208 (CVA washed away during the restoration). The bodies of the Amsterdam, Allard Pierson Museum 1, p1. 7), 510-500 figures on B are worn, the face of the fourth warrior on BC, unattributed. A is almost totally worn away. Interior: reserved line just below rim; medallion KLEIN 1887, 221; W. FROEHNER, La collection van Branteghern vente, Paris-Brussels, 1892, pl. 3.3; HOPPIN, vol. II, 18.4; NICOLE, 85 (3); BEAz- (turned 25 0 to right). Border: reserved line. Tondo: man LEY 1918, 14; KRAIKER 1923, 170; BEAZLEY 1925, 48 (2); KRAIKE1t, 15 and youth facing each other. Naked bearded man stand- (No. 36); GORBUNOVA, PEREDOLSKAYA, 38, pl. 20; ARV 77 no. 2; ARIA, ing facing right in profile, torso in three-quarter view. 110 no. 2 (2) (Herrnaios Painter), 1626; PF.REDOLSKAYA, Catalogue, 12-13, Cat. 3, pls. 111,2,4, CLXIII,4; Pam, 509 no. 2 (Herrnaios Painter); ARFV Legs slightly bent, left leg set slightly forward, feet on Archaic, pl. 110; Add., 85 no. 110.2 (Herrnaios Painter). ground-line, right toes touching left heel. Left arm bent, hand forward at chest level, holding a skythos. Right arm slightly bent, pushed back and down holding a ver- PLATE 5 tical short knotted stick pointing down. Cloak over man's shoulders, its ends hanging along body. Drawing 1-2; Pis. 6, 1-2; 7, 1-4; Fig. 3; P1. A.4. Cup, TYPE B. lost on stomach, chest and thighs. Naked youth stand- Inv. B.1540 (St. 828, W. 646). From the Campana col- ing facing left in profile, torso in three-quarter view, lection, 1862 (Ser. IV, no. 665). H. 12.1-12.2 cm; d. 32 head bent forward. Legs bent, both feet on ground-line; cm; w with handles 40.5 cm. Foot: h. 6 cm; d. of base right leg forward, foot almost totally hidden by man's 11.5 cm; d. of top 3.5 cm; h. of edge 0.7 cm. Handles: left foot. Left leg set back. Right arm slightly bent, d. 1.2 cm; projection 4.3 cm. Medallion: d. 15 cm; tondo: pushed forward and down, hand at thigh level holding a d. 14.3 cm; border: w. 0.2-0.3 cm. short knotted stick pointing upwards. Left arm bent, Large shallow cup, the body moving smoothly into elbow pushed backwards, hand by chest clasping neck the stem, the stem into the base. In the middle of the of a wineskin tossed over left shoulder and hanging base a small drop in height. Base flat, thin, the edges down youth's back. Edge of wineskin cut off by tondo profiled. Cup assembled from numerous fragments, the frame. Cloak over youth's arm, its ends hanging along joins carefully plastered and tinted to match the colour body. Drawing on thighs, stomach and middle part of of glaze or clay. Two large missing fragments (in left and right arm lost. Black relief line used to mark contours of right part of side A, and beneath handle A/B) in the figures and objects (except where their surfaces touch middle part of the cup and two small missing fragments frame), to draw muscles, facial features and folds of on the bottom by the foot have been filled with plaster drapery. Both hairstyles black, separated from ground and tinted, the drawing not restored (the repainted by a broad reserved line; along upper edge of the hair parts described in PEREDOLSKAYA, Catalogue, 15 was are black dots, along lower edge short black strokes
Fig. 3 - B.1540 (sc. 1:3).
16 BED-FIGURE CUPS marking locks. Both have wreaths in the hair. Man's seated with body leaning backwards; whole of left leg beard black, separated from ground by a reserved line; visible, knee by horse's neck; right leg not visible. Left along lower edge a row of black relief lines marking arm slightly bent, set forward and down, reins held in locks of hair. Fine circles in dilute glaze used to draw hand at level of horse's neck. Right arm straight, set youth's nipples. Eyes of both figures shown frontally. back, hand at level of back of neck holding a short Added red: wreaths of both figures. spear running horizontally, blade hidden by youth's Exterior, A-B: battle scenes (five figures and two hors- head. Short cloak over youth's shoulder, hanging down es on each side), the side figures encroaching on the his back. Cloak adorned with zigzags mixed with bands handle zone, all warriors beardless. Beneath the band of dots, framed above and below by double lines. with figures is the ground-line drawn in dilute glaze and Youth's hair black, separated from ground by a reserved beyond that a reserved band with black-figure garland line; over the hair a fillet. Along upper edge of hair are of seven-petalled palmettes framed above and below by locks marked with relief black dots, along lower edge lines of dilute glaze. Palmettes alternately oriented up- with dots of dilute glaze. (4) Warrior walking energeti- wards and downwards. Palmettes linked by fine stems; cally (almost in the kneeling run pose) to left in profile, to the sides of each palmette are two black dots. body frontal, head facing right in profile. Legs bent, A: (1) Warrior walking left in profile, back shown right leg set far forward, whole of foot resting on frontally turned to viewer. Legs slightly bent, left leg ground-line (foot between horse's legs); left leg set far forward, whole foot resting on ground-line; right leg set back, resting on tips of toes (foot between legs of war- back, toes resting on ground-line. Left shoulder set for- rior (5)), knee almost touching ground-line. Left arm ward, a round shield on the shoulder. Figure of warrior straight, stretched back and slightly down, arm totally does not fit into band with figures and his shoulder hidden by a round shield shown in three-quarter view comes up against right part of handle B/A, so painter from behind, shield's inside straps visible. Right arm could find only enough room to show upper part of bent, set forward and up, elbow at shoulder level, hand shield and shoulder. Right arm back, apparently holding above head holding a spear directed to right. Warrior a spear, but only shoulder survives: arm lost. Shield wears a short chiton with armour over the top; greaves shown in profile; part of emblem in the form of a black on the legs, on his head a helmet like that of warrior (1). ring is visible. Warrior wears a short chiton with armour Drawing of head and upper part of warrior's body over the top. On his head a helmet with cheek-pieces, a almost totally worn away. (5) Warrior slightly resting on high crest and a pattern of dots where crest joins head- one leg, leading a horse; horse and warrior shown facing piece. Upper part of crest cut off by cup edge. Locks of left in profile. Horse's front legs raised in the air, right hair visible from beneath helmet. (2) Warrior walking leg slightly higher (back legs probably standing on right in profile, chest depicted frontally. Legs slightly ground-line), legs partially covering left thigh of warrior bent, left leg set far forward, whole foot resting on (4). Horse's head and neck almost totally worn away. ground-line; right leg back, toes resting on ground-line Middle and left part of figure of warrior (5) lost. We can between legs of warrior (1). Left arm straight, set for- see his legs, slightly bent, tips of toes standing on ward and slightly down, arm totally hidden by a round ground-line; right leg forward, left leg back. Left arm shield, shield shown in three-quarter view from the set back and up, with a round shield shown frontally; on back; part of embem visible, in the form of two black the shield an emblem in the form of a black silhouette rings, each with a dot inside; straps inside shield also of an animal (a dog?). Visible from beneath shield is a visible. Right arm bent, set back and up, elbow at shoul- horizontal spear held in warrior's same hand. Only hand der level, hand by back of head holding a short spear of right arm visible, holding reins by horse's neck. War- aimed at rider; spear running horizontally aimed right. rior's body thrown backwards as if he is pulling horse Upper part of torso naked, middle part lost, above the back, digging his feet into the ground. Armour visible knees a fragment of clothing with folds. Figure wears on his chest, on his head the same helmet as worn by same helmet as warrior (1), curly locks emerging from the others. Black relief lines around contours of all fig- beneath helmet onto back. Greaves on the shanks. (3) ures, objects and drapery. Black used for emblems on Rider-youth (half the size of other warriors) moving left shield and zigzags on cloak. Black relief dots for pattern in profile, back to viewer. Horse also shown in profile, on horses' bridles and on helmets where crest joins back legs on ground-line, front legs raised in the air, head-piece. Dilute glaze used for locks of hair emerging front right leg slightly higher; head raised, mouth half- from beneath helmets of warriors (1) and (2), for pat- open. Horse's bridle adorned with reserved dots. Youth tern on chiton of warrior (1), wavy line in upper part of
PLATES 5, 6, 7 17 youth's cloak. Eyes of all drawn frontally, pupil shifted de Montauban, in Revue du Louvre et des Muse'es de towards inner corner. Visible traces of preliminary France 1961, no. 2, 50, pls. 2-5). There are black-figure drawing. palmettes on British Museum E 12 (HOPPIN, vol. II, B: (1) Warrior analogous to warrior (1) on side A, but 291). We can add several analogies to those cited by without dot pattern on helmet. (2) Warrior analogous Peredolskaya. The rider-youth type, his horse and the to warrior (2) on A, except that he has a single ring on other horses, including the drawing of all the details, are his shield, he wears a chiton and armour, and over his extremely close to the image on a cup at Castle Ashby back a short cloak, its ends fastened at the neck with a (CVA Castle Ashby, pl. 35), 520-510 BC, Nikosthenes round buckle. (3) Warrior leading a horse by its reins, Painter. Warrior (3) on side B of the Hermitage cup is apparently analogous to warrior (5) on A, except that extremely close - including the drawing of face and hel- emblem on shield is a boucranion and there are no met, the shield with its emblem in the form of a bou- straps drawn inside shield. (4) Warrior analogous to cranion silhouette - to the far right warrior on side B of warrior (4) on A, except that right arm bent with a the cup at Castle Ashby. Identical features of the war- spear is at waist level and not above the head, and em- riors on both cups: drawing of the muscles, armour, blem on shield is in the form of two black circles. (5) folds of the chiton. Warrior (5) on side B of the Her- Warrior leading a horse by the reins, analogous to war- mitage cup has the same shield with an emblem in the rior (3), except that emblem on shield is a flying bird form of a flying bird as has the far right youth on side A and there are no straps drawn inside shield. On all war- of the cup at Castle Ashby. Very close to the Hermitage riors except (4) the upper part of helmet crest is cut off horses in drawing and type are those on a cup formed by cup edge. Drawing of bodies of warriors (1) and (2) of the fragments Amsterdam 2779 and Washington very worn. Contours of bodies, clothes and objects of 136.385 (CVA Amsterdam, Allard Pierson Museum 1, warriors (1) and (2) drawn with a relief line in brown pl. 6.4), c. 510 BC, Nikosthenes Painter. Close to the glaze, of remaining warriors in black glaze. Wavy lines bearded man in the tondo on the Hermitage cup, in of dilute glaze used to draw locks of hair falling from treatment of the body and the muscles of the chest and beneath helmets onto necks of warriors (1), (2) and (4). neck, as well as in treatment of the face and hair, is the Eyes of all drawn in profile, pupil shifted towards inner man in the tondo of Cambridge 1/27 (CVA Cambridge. corner. Fitzwilliam Museum 1, pl. 25.3), c. 520 BC, Nikosthenes Added red, A-B: reins of all horses, fillet of the rider- Painter. Similar helmets and faces of the warriors youth. appear on fragment Agora P 7900a (Agora XXX, pl. 129 Beneath each handle a single reserved large ivy leaf on a no. 1405), c. 510-500 BC, 'connected with Chelis short stem oriented upwards. Foot and base black outside, Group'. L. Utkina has suggested that the painting of side except for the edge of the drop in height and the base; A may be interpreted as showing the story of Achilles inside of foot reserved, base black, except for a narrow and Troilus (Schliemann —Petersburg - Troy, 216). reserved band around the edge (w. 0.6 cm). Around the reserved edge of the base an inscription in black letters: BRUNN, 723, no. 9; KLEIN 1886, 312, no. 48; KLEIN 1887, 93, no. 17; NICOLE, 62, no. 16; HOPPIN, vol. II, 304, no. 18; BEAZLEY 1918,23; BEAz- LEY 1925, 44 (11); ARV, 98 no. 8 (Nikosthenes painter); ARV2 , 125 no. 14 P4tV AIvo L/ £111EN (8) (Nikosthenes Painter); PEREDOLSKAYA, Catalogue, 14-15, cat. 6, pls. IV; V 1; CLXIV 1; Para, 510 no. 14 (Nikosthenes Painter); Schllemana - Peters- burg - Tray, 216.217, cat. 56, pls. on pp. 115, 216; Horse 2006, 185, cat. 120, Potter Pamphaios. pl. on p.77. Nikosthenes Painter (J. Beazley). 520-5 10 BC.
As was noted by Peredolskaya, with reference to Bea- PLATE 6 zley (ARV, 98 and ff.), most of the cups from the work- shop of Pamphaios painted by the Nikosthenes Painter 1-2. Cup, TYPE B. Inv. B. 1540 are of large size and adorned with black-figure orna- ment (on similar late bilingual elements see COHEN, 513 and ff.). Peredolskaya names as the closest analogies for the Hermitage cup Louvre G 4 (HOPPIN, vol. II, PLATE 7 115), Louvre G 4 his (HOPPIN, vol. II, 117) and a cup in Montauban (L. KAHIL, Vases Grecs znédits du Musée 1-4. Cup, TYPE B. Inv. B. 1540
18 RED-FIGURE CUPS
PLATE 8 Interior: reserved line in upper part, medallion: tondo with border (reserved line). In the tondo a naked youth 1-2; Pis. 9, 1-2; 10, 1-4; Fig. 4; P1. B.1-4. CUP,TYPE facing right in profile, torso in three-quarter view, B. Inv. B.3385. From the Stieglitz collection, 1924 (No. slightly bent forward. Youth seated on a wineskin (or 488). Gift to the Stieglitz Museum in 1886. Formerly in sack?), legs bent, wineskin beneath his legs, left leg a collection in Canino. Found at Vulci. H. 11-13 cm; almost invisible, right leg pressing to front of wineskin, d. 32.2 cm; w. with handles 40.6 cm. Foot: h. 6.7 cm; d. of side of foot to end of wineskin, heel up. Arms slightly base 11.7 cm; d. of top 4.4 cm; h. of edge 0.9 cm. Han- bent, left arm forward with hand firmly clasping neck of dles: d. 1.1 cm; projection 4.3 cm. Medallion: d. 125 wineskin; right arm back, drawing around the hand cm; tondo: d. 12.1 cm; border: w. 0.2 cm. damaged but hand probably would have clasped back Large flat cup on a thin stern of average height. Foot edge of wineskin. Youth's head tilted towards left shoul- broken off and re-attached crookedly as a result of which der. Drawing of shoulders, lower part of arms and face, the cup tilts towards handle A/B (difference in height front and back of wineskin all lost, rough outlines of all 2 cm). Cup assembled from numerous pieces, several these parts indicated with wash. In surviving parts of pieces missing. Missing fragments made from plaster: two image contours of figure and its parts and contours of large pieces in the upper part of the body in the middle wineskin all drawn with a fine black relief line. Hair of side A, two large pieces in the upper part of the body black, separated from ground by a fine incised wavy on side B (left of centre on side B and by the handle on line. Along lower edge of hairstyle are locks drawn B/A), large piece of the floor (in the lower part of the against clay ground using dots of black glaze, against tondo) and two small pieces (in the upper part of the ton- black ground using a row of incised short lines. Along do), a small piece by the base of handle A/B. Joins and upper edge of hairstyle a row of black relief dots (clearly fragments infilled with plaster tinted to match the glaze visible only when looked at from the side). On the or clay. Joins not very even, the pieces do not always fit youth's head a wreath. together well: some fragments project a little from the Added red: wreath on the youth's head (in the form of overall surface of the assembled cup, the fragments of a fillet with drop-shaped spots along the sides); beneath drawing in some cases do not quite match up. Over the the neck of the wineskin - the letter 0 or a circle. surface of the cup inside and out are small chips and flak- Exterior, A-B: komos (all youths are naked); beneath ing of the glaze; scratches on the outside of the lower part the frieze with the komos a band or ornament serving as of the cup. Drawing of the medallion very damaged. ground-line. Ornament: between two reserved lines a
Fig. 4 - B.3385 (sc. 1:3).
PLATES 8 19 chain of reserved rhombuses stretched out along the above left elbow an horizontal. Contours of rhombuses outlined with a fine black relief line. A: (1) Youth facing left in profile, torso frontal. Legs slightly bent, left leg forward, whole foot above right shoulder of youth (2) a letter resting on ground-line, right leg back, heel lifted off 11 ground-line. Straight right arm stretched forward, fin- gers up, palm facing away; left arm bent, pushed back, B: (1) Youth facing right in profile, torso frontal. Legs hand at waist level, holding a skythos supported by slightly bent, left leg forward, whole foot resting on youth's thumb. Chin almost touching right shoulder. ground-line, right leg back, only toes resting on ground- Cloak over youth's shoulders, its ends hanging down line. Right arm bent and pushed back, hand at waist level, covering shoulders, central part hangs in an arc down in the palm a skythos supported by youth's thumb. Left his back. (2) Youth facing right in profile, torso frontal. arm almost totally lost but to judge by placing of elbow it Legs slightly bent, left leg forward, whole foot resting was pushed forward. Cloak over shoulders, its straight on ground-line; right leg backward, heel lifted off ends hanging down, central part hanging down back in an ground-line. Left arm straight, stretched forward (part arc. Head tilted onto chest, chin resting on left shoulder. of arm from elbow to hand is lost), cloak over shouder, (2) Legs and left arm of youth in profile turned right. Legs ends hanging down on either side of arm. Right arm bent, left leg forward, whole foot resting on ground-line, bent, pushed back, hand at waist level, palm upwards, heel of right foot lifted off ground-line. Left arm bent, fingers down. Head tilted, chin on left shoulder. (3) stretched forward, hand at chest level holding a skythos Youth facing right in profile (back and back of head are supported by youth's thumb. (3) Youth facing right in lost), body strongly tilted forward. Legs slightly bent, profile, torso in three-quarter view. Legs slightly bent, left left leg forward, both feet on ground-line. In front of leg forward, whole foot resting on ground-line, heel of youth a large column-krater that hides his left knee and right foot lifted off ground-line. Left arm slightly bent, end of his left foot. Youth stands leaning towards col- stretched forward and up, palm away from body, fingers umn-krater, arms straight, stretched out in front, right up. Right arm bent, pushed back, hand at stomach level, arm lower than left, right hand inside column-krater in the palm a skythos supported by youth's thumb. Back (not visible), left hand lost. (4) Profile image of legs (rest curved, head tilted, chin on left shoulder. (4) Youth facing of body has been lost) turned left, drawing severely left in profile, torso frontal. Left leg slightly bent, set for- damaged. Legs slightly bent, right leg forward, whole ward, foot hidden by left leg of youth (3). Right leg bent, foot resting on ground-line (knee and foot hidden be- set back, toes resting on ground-line. Right arm straight, hind column-krater), heel of left foot lifted from stretched forward (lost from shoulder to wrist), palm to ground-line. (5) Youth moving right in profile, torso viewer, fingers down. Left arm bent, pushed back, hand at frontal, head turned left in profile. Left leg bent, set for- chest level, in profile, palm down. Fingers disproportion- ward, whole foot resting on ground-line. Right leg ately long. Chin on right shoulder. (5) Legs, part of body slightly bent, pushed far back, toes resting on ground- and back of a youth facing right in profile. Legs slightly line. Left arm bent, pushed out to right, elbow forward; bent, left leg forward, whole foot resting on ground-line hand at chest level holding a curved drinking horn. (drawing damaged around ankle), right leg back, only toes Whole of right arm together with shoulder, whole of touching ground-line. Back rounded, upper part of back face and top of head have been lost. Fine black relief hidden by arc of cloak. One end of cloak hangs down to line around contours of bodies, muscles, fingers and right of figure, hiding stomach, genitals and right thigh. toes, facial features, contours and folds of cloaks, con- Surviving image of the bottom of a sharp-bottomed am- tours of other objects. Hair black, separated from phora which the youth was probably carrying in his ground by a wavy scratched line. Locks of hair drawn hands. Fine black relief line around contours of bodies, along upper edge of hairstyle: against the clay ground muscles, fingers and toes of all youths, facial features, con- using a row of elongated black spots, against the glaze tours and folds of cloaks, contours of all objects. Hair using a row of short scratched lines. All figures wear black, separated from ground by a scratched wavy line. wreaths on their heads. Faces in profile but eyes shown Locks of hair drawn along lower edge of hairstyle: against frontally, the pupil shown as a black spot in centre of the clay ground using a row of elongated black spots, eye. Above right elbow of youth (1) the letter against the glaze using a row of scratched short lines. Wreaths on heads of all youths. Faces shown in profile H but eyes frontal, the pupil shown as a black spot in centre
20 RED-FIGURE CUPS of eye. Above right shoulder of youth (1) the letter add to Peredolskaya's analogies. Close to the drawing of the profile, eyes and ears of the youths on the Hermitage H cup is a youth on a cup formed of fragments Amsterdam above left shoulder of youth (4) the letter 2779 and Washington 136.385 (CVA Amsterdam, Allard Pierson Museum 1, pl. 6.4), c. 510 BC, Nikosthenes Rl Painter. Close to the Hermitage cup in treatment of the bodies, muscles, faces and hairstyles are the youths on Added red, A-B: wreaths on youths' heads (of the Cambridge 1/27 (CVA Cambridge. Fitzwilliam Museum same type as in the tondo); letters. 1, pl. 26.1a-b), c. 520 BC, Nikosthenes Painter. Beneath the handles are five-petalled palmettes with petals set wide apart; to right of the palmettes runs a TH. PANOFKA, Der Vasenbila(ner Parnphaios, Berlin, 1848, 221, no. 8; stem with a scroll-shaped twist at the end (that beneath BRUNN, 723, no. 7; KLEIN 1886, 313, no. 49; KLEIN 1887, 93, no. 15; Hop- handle B/A is larger and much more tightly furled). PIN, vol. II, 304, no. 19; BEAZLEY 1918, 23. BEAzLEY 1925, 44 (13); BEAz LEY 1929, 17; ARV, 98 no. 7. ARV2 , 125 no. 14 (7) (Nikosthenes Painter; Petals, scrolls and hearts of palmettes outlined with a the border below the exterior has the same diamond-pattern as in the Castle fine black relief line. Ashby cup (no 7); the only other examples of it are on cup-fragments in Stem and base of foot black, base edge, standing surface Berlin University (on A, a foot remains and part of the handle-floral) and in Athens, Acr.89). PEREDOLSKAYA, Catalogue, 15-16, cat. 7, pls. V,2, VI, CLX- and stem inside (and also where attached to the body) tV2; Para, 510 no. 13 (Nikosthenes Painter). reserved. Along the edge relief inscription in black glaze:
[4ti4iO ET1O1E,Ew PLATE 9
Nikosthenes Painter U. Beazley). 1-2. Cup, TYPE B. Inv. B.3385. 520-510 BC.
The same rare ornament below the figurative band on PLATE 10 the outside is found on a cup at Castle Ashby (CVA Cas- tle Ashby, pl. 35), 520-510 BC, Nikosthenes Painter. 1-2. Cup, TYPE B. Inv. B.3385. These two vases are also close in their simplicity of poses and viewpoints, and the nature of the working up of the musculature. Both were attributed to the Nikosthenes PLATE 11 Painter by Beazley, who was first to note the rare orna- ment (BEAZLEY 1929, 17, p1. VI). Amongst analogies 1-2; Pls. 12, 1-3; Fig. 5; P1. Cl-li. FRAGMENT OF A Peredolskaya cites a kantharos Hermitage B3386 CUP. Inv. B.4508. From the collection of M.P. Botkin, (PEREDOLSKAYA, Catalogue, cat. 10; ARV, 100 no. 22), 1928. Preserved h. 5.4-6.1 cm; d. 26.4-26.7 cm. Medal- the komastes inside Louvre G 4 bis (HOPPIN, vol. II, lion: d. 11 cm; tondo: d. 10.6 cm; border: w. 0.2 cm. 116) and the group inside Hermitage B.1540 (see Plate Peredolskaya published the cup in her catalogue as a 6), noting that the subject of the komos is found rarely in whole form with handles and foot. Later the cup col- the work of this master and was possibly inspired by lapsed along the glued joins and during restoration in Epiktetos. The motif of a youth seated on a wineskin is 2005 the remade handles, stem and base were removed. repeated on a fragment, close in style, from Acropolis 227 New fragments were removed from the bowl, the paint- (GRAEll LANGLOTZ, Bd. II, 1, pl. 12, no. 227). We can ing cleaned of numerous repaintings. Bowl of cup as- sembled from pieces, missing pieces recreated from plaster and tinted to match the glaze or clay: large frag- ment in the centre of the floor (almost the whole of the tondo), large fragments where the handles are attached, two fragments in the upper part and one in the middle of side A, a fragment in the upper part to right on side B. Painting not recreated in the lost areas. Surviving parts of drawing in the medallion are worn, on the out- side the drawing also worn in places, with scratches in Fig. 5 - B.4508 (sc. 1:3). the black glaze in the lower part of the cup.
PLATES 8, 9, 10, 11 21
Interior: reserved line just below rim; medallion. Bor- Drawing of torso and left arm lost, of head only part der: reserved line. Tondo: running or dancing naked of fillet above left shoulder survives. Maenad wears a youth in the kneeling run pose facing right in profile. long chiton with sleeves, hiding body down to ankles; Legs bent, both feet with toes resting on frame; left leg over the chiton an animal skin. (3) Standing Dionysos, forward, right pushed back, knee behind left foot. Right legs facing right in profile, torso curving backwards, hand bent, pushed back and up, elbow at chest level, chest turned to viewer, head facing left in profile, rest- hand at stomach level. Whole of middle part of figure ing on right shoulder. Legs slightly bent, left leg for- lost, only right leg, left leg below knee, back of head, ward, both feet on ground-line. Arms bent, left arm right arm from shoulder to hand survive. Hair black, forward, elbow and hand at waist level holdidng a long separated from ground by a thin scratched line. On his ivy (vine?) stem that continues behind Dionysos's back head the youth wears an ivy (?) wreath. Black relief line and beyond to maenad (2). Beneath left hand the let- used to mark contours of surviving parts of body and of ters: toes. Letters to left of youth in a semicircle running top MA to bottom: Right arm pushed back, elbow up, hand at mid-thigh Et7/)Eki level clasping a drinking horn with wide end facing left, To right of youth part are letters running from knee to arranged horizontally. Dionysos wears a long chiton toes reading top down: covering body to ankles, a long cloak over his shoul- ders, its ends hanging down his sides, also to ankles. l-v/C1 On his head an ivy (vine?) wreath. (4) Maenad striding Peredolskaya reproduced the inscription in reverse widely to left in profile, torso turned to viewer. Legs (PEREDOLSKAYA, Catalogue, pl. CLXV,1). bent, right leg forward, whole of foot on ground-line, Added red: wreath; letters of inscription. left leg back resting on toes. Right arm slightly bent, projected forward and up, elbow at shoulder level, Exterior, A-B: komos of maenads and satyrs, beneath hand at forehead level, holding krotala. Left arm slight- the feet a fine line in dilute glaze, beneath which a re- ly bent, set back and down, elbow at chest level, hand served line. at buttock level, holding krotala. Maenad wears a long A: Dionysos dancing in the centre, to each side a chiton with sleeves hiding body to ankles, a skin over maenad and a satyr, arranged symmetrically as mirror the chiton. On her head a fillet. Back of maenad's head reflections of each other around Dionysos; they seem to and left shoulder lost, face almost totally erased. Be- be running towards him. (1) Fragment of figure of a tween left thigh and hand are letters: satyr walking right in profile, torso frontal. Legs slight- ly bent, left leg forward, whole foot resting on ground- Of line, right leg back resting on its toes. Left arm In all but details maenad (4) is a mirror image of maenad stretched forward and slightly down, hands lost, but (2). (5) Naked satyr with erect phallus moving left in pro- beneath the hand a wineskin held by either satyr or file, torso frontal. Legs slightly bent, right leg forward, maenad walking on front of him. Beneath hand the let- whole of foot on ground-line; left leg back, lost below ters: knee. Right arm straight, stretched forward at shoulder ME level, lost below elbow. Left arm bent, pushed back and up, elbow at shoulder level, hand by thigh holding drink- Right hand probably bent and pushed back, only ing horn arranged horizontally, opening to left. Satyr's hand survives by waist, holding a fragment of an object long hair falling down his back, over the hair an ivy (a horn?). Of head only tip of beard survives. (2) Frag- (vine?) wreath. Eye drawn frontally, pupil in the centre. ment of figure of a maenad walking with broad steps to Between right arm and leg letters running top down: right in profile, torso in three-quarter view. Legs bent, left leg forward, whole of foot resting on ground-line, /VA / right leg set far back, toes resting on ground-line, cov- between legs the letter: ering satyr's left foot. Left arm slightly bent, stretched forward at shoulder height, hand lost, only part of kro- X tala below it survive. Beneath right elbow the letters: To right of head the letter:
22 RED-FIGURE CUPS
Thick black relief line used for contours of figures, Body bending forward. Right arm slightly bent, clothing and objects, folds of drapery and chest muscles. stretched forward, holding maenead lying in front by Hair of all figures black, separated from ground by a fine the waist to left. Head bent towards maenad's genitalia. scratched line; lower edge of hairstyle wavy. Beards of Above satyr's back are letters written horizontally: satyrs and Dionysos black, curls of hair marked along 1(46 lower edge with fine black short relief lines. Added red: fillets on heads of maenads; wreaths on (5) Large maenad lying on a rock (?). Body turned to heads of Dionysos and satyr (5); small leaves along the viewer, legs apart, right leg bent and raised above head sides of the tendrils of ivy held by Dionysos; letters of of satyr (4), toes up, heel down. Left leg hidden by inscriptions. satyr's leg. Arms bent, right arm thrown up above the B: Group of five characters; at the centre a masturbating head, open hand by left shoulder with fingers down; left satyr, on both right and left of whom are a maenad and arm hanging down, half-open hand touching ground- satyr couple engaged in sexual games. (1) Maenad half- line. Head shown in profile, face down, tilted towards crouching, legs to left in profile, body frontal, head to left shoulder. Maenad clothed to the waist, with short right in profile. Legs bent, right leg slightly forward, lower sleeves, body naked below waist. Above maenad's body part of legs lost. Torso bent hard forward. Right arm bent, are letters arranged horizontally: pushed out to left, elbow forward, hand by breast, hold- Op4i ing krotala. Between right elbow and knee the letter: 'I To right of rock the letters: Left arm straight, pushed out to right and up, elbow up, F(41. holding krotala (?). Above left arm the letters: Thick uneven black relief line around contours of fig- ures, clothing and objects, drapery folds, musculature Maenad wears a long chiton with sleeves that hides the and facial features. Hair of all figures black, separated body. Hair short, a fillet on the head. (2) Naked satyr from ground by a fine wavy incised line. Maenads have walking left in profile, body bent hard forward. Satyr's short hair, satyrs have long hair. Along lower edge of hair legs slightly bent, right leg forward, feet not visible. on forehead of maenads and satyr (3) and along whole Beween legs the letters: contour of hair of satyrs (2) and (4) curls are marked /V4 with black relief dots. Long wavy lines of dilute glaze used to draw locks of hair falling down the back of satyrs Both arms straight, stretched forward and down, right (2) and (3). Beards of satyrs black, along lower edge arm slightly higher. Satyr grasps maenad by folds of curls marked with fine short relief lines. Moustaches of drapery on her thighs, pulling her buttocks towards his satyrs drawn with a row of short black relief lines. Eyes erect phallus. Head bent down, chin hidden by left of all figures drawn frontally, pupil at the centre. shoulder, back of head hidden by maenad's left arm. Added red: fillet on the head of maenad (1); wreath Between satyrs (2) and (3) letters written horizontally: on the head of satyr (3); letters of inscriptions. 4'4/X Potter Kachrylion. (3) Naked masturbating satyr standing frontally in half- crouching pose, head to left in profile. Satyr's legs bent and Nikosthenes Group. pushed out to sides, both feet flat on ground-line. Arms c. 5 10 BC. bent, pushed out to sides with elbows out, right hand grasping end of phallus, left hand stroking it with open According to Peredolskaya the Hermitage cup 'belongs palm. Head tilted towards right shoulder,an ivy (vine?) to the late group painted by the Nikosthenes Painter; very wreath over the long hair. To right of head the letter: coarse and careless work' (PEREDOLSKAYA, Catalogue, 16). Beazley does not include the cup among the works of / the Nikosthenes Painter. Closest to this cup in terms of (4) Naked satyr crouching down, facing right in profile. compositional devices and carelessness of drawing, and Left leg set slightly forward, whole of foot resting on particularly in the type of satyr with characteristic hair- ground-line; heel of right foot beneath right buttock, styles with long locks of hair, beards, eyebrows, eyes and resting on toes, knee crossing left leg above the calf. noses of identifiable form, is a cup in Cambridge (CVA
PLATES 11, 12, 13 23
Cambridge, Fitzwzlliam Museum 2, pis. 6.2a-b, 85), c. 510 Handles: d. 1.4 cm; projection 3.4 cm. Medallion: d. 16 BC, Nikosthenes Group. Similar satyrs appear on cm; border: w. 0.2 cm. Wflrzburg HA 425 (CVA Würzburg, Martin von Wagner Large, broad, flat, thin-walled cup, body passing Museum 2, pls. 1-2), c. 510 BC, verbunden mit dem smoothly into stem, stem into base until the middle of Nikosthenes Painter'. Satyrs and maenads, drawing of the base, which has a drop in height. Stem slender and drapery and hair are close to those on side B of Laon high; base small. Cup assembled from pieces, the joins 371054 (CVA Laon 1, 20, p1. 46.4),510-500 BC, manner of filled with plaster and tinted to match the colour of Epeleios Painter. Left arm of reclining maenad on side B of glaze or clay. Large fragment of body with handle B/A the Hermitage cup is close to the right arm of the youth has been lost (fully restored with plaster, the handle at- with a lyre on side A of Karlsruhe 63/104 (CVA Karlsruhe, tached is Antique but it is not clear if it comes from this Badisches Landesmuseum 3, pis. 26-27), c. 510 BC, Phin- cup or from another, although it was clearly chosen to tias. Drawing of the nose, mouth, ear and beard of satyr (3) match the surviving handle). Also restored with plaster on side B of the Hermitage cup close to that of the same and tinted are four fragments on side A, a fragment in features on a satyr on side B of the cup in Germany. the upper part of the body above handle A/B and a small fragment beneath the same handle, a large frag- CASKEY, BEAzLEY, vol. II, 96 (5); ARV, 84 (a); PEREDOLSKAYA, Cata- ment in the upper side of the body on B, a fragment in logue, 16, car. 8, pls. V3, CLXV1; Para, 509 no. 28 ('Kachrylion, potter' with the words: not by the Nikosthenes Painter'), 510 no. 29 ('I cannot attribute the middle part of the body on B, a small fragment of this cup to the Nikosthenes Painter'). the floor (part of the ground and right side of the woman in the tondo). All fragments restored with plas- ter have been tinted to match the clay or glaze, the lost PLATE 12 drawing not recreated. To either side of the joins inside and outside of the body we see traces of cramps or sta- 1-3. FRAGMENT OF A CUP. Inv. B.4508 ples used to attach those fragments during repair in An- tiquity. Surface of the glaze and clay very worn in places. Foot broken off and re-attached (it is possible it PLATE 13 was not originally from this cup). Until 1959 the images had been much repainted but restoration undertaken in 1-2; Pls. 14, 1-2; 15, 1-4; Fig. 6; P1. D.1-7. Cu p, TYPE that year removed overpaintings, the blank areas tinted B. Inv. B.3375. Gift of A.P. Botkina, 1923. H. 12.5 cm; to match the glaze or clay. d. 32.9-33.2 cm; w. with handles 39.8 cm. Foot: h. 6 cm; Interior: medallion turned 10° to right. Naked woman d. of base 10 cm; d. of top 5.4 cm; h. of edge 0.4 cm. (PEREDOLSKAYA, Catalogue, 16 - 'hetaira') walking right
Fig. 6- P.3375 (sc. 1:3).